Monster

Monster

Day 27

Elyse Brownell

If there was a way to come back

and stretch my body beneath this heavy light

I would do so until the rain subsides

and the flooding is over

and you are standing in your papery canoe,

afloat.

Lover, when you hold my hand

I am no longer in my own body

but rather, opening wide enough to

envelop the sea, to envelop the land

to take everything.

It isn't what we are it’s what we were:

the transference of energy asleep on

the shoreline, the movement of landscapes

beneath the sacred heaving of skin,

pushed aside, another hole to fall into.

I will find you again, if but only to

touch the silky vane, if but only to

remember what it was like

when our bodies were our own,

when the separation of atoms was something

tangible.

Straw Writes Unveiled

We at Two Crows are proud to announce the release of Christopher Shugrue's new prose chapbook:  Straw Writes!!  The book was published by the great people at Monkey Puzzle Press and is now available for purchase here. 

You can also read an interview with the author about the work here.  Get your copy today and enjoy!

Praise for Straw Writes

Straw Writes is nothing short of astonishing. The ghosts of Walt Whitman and Allen Ginsberg weave through the text, and Christopher Shugrue ably shows himself to be one of their literary heirs.

--Linda Tate, author of Power in the Blood: A Family Narrative

Christopher. P. Shugrue is an incredible person.  Have you heard him read?  Try.  It's an altering and intense experience.  To read his work, yourself, is to enter into a space that is shattering something, always.  And finding a way back.  In this sensitive and brave first book, Shugrue works hard to make sense of the materials of war, and of the time that follows it.  He considers the memory that a person might build -- and loop -- in civilian life.  The life where you get to love someone and follow them a little bit of the way.  He is not afraid to write into the madness.  What it means to go and not, always, return.  I am honored to write in support of this generous writer who is -- as they say -- the real thing.  I never knew what that actually meant until I encountered Chris himself, as I hope you will one day.

-- Bhanu Kapil, author of Schizophrene

World on fire, ghost winds, naked children in the American night, as a Whitmanic and Ginsbergian ethos permeates the battleground of a Fallujah nightmare.  This is the scape of Straw Writes, a hybrid text of conviction and urgency.

--AnneWaldman, author of Gossamurmur

A Poem Written As a Patent Application: First Attempt

An EXCERPT from A METHOD AND APPARATUS OF ARRIVAL AND/OR DEPARTURE

Elyse Brownell

FIELD

The presented poem is broadly directed toward what it means to arrive and what it means to depart, as well as the steps and materials needed to leave. Such a system will prevent entrapment, loneliness, and other mental conditions.

ABSTRACT

Presented is one method and apparatus of arrival and/or departure having an aperture of the space-time continuum for the sake of travelling from one location to another location.  Specifically, what are the steps needed to take in order to come to the decision to leave one location, to depart, and to arrive in another location, to arrive.  Furthermore, what is contained in the decision to leave said location, i.e., the heart, a hollow muscle or organ that pumps blood throughout the blood vessels, among other methods.  Further, further, this one method of arrival and/or departure is one that could not be ignored, avoided, or prevented.

BACKGROUND

There is that check-in that you must procure.  Which, if you think about it, you’re just reconfirming the confirmation you’ve already made and if you’re not “checking” bags but rather carrying them on your persons, then what is the point of the check-in?  To Check-In: the process whereby a person announces their arrival.  Airport: I am arriving.  What it means to arrive. To carry your body across point A to arrive at point B. With arrival comes the departure, the departure of body, waiting, sitting still, crossing lands and oceans.  Fall asleep in one state wake up in another. Insomnia. I am body awake beneath this dream. Lover, I am awake beneath this realm holding your hand in another state. When we arrived we departed.  When we departed we arrived. 

The following listing of claims will replace all prior versions/listings of claims in the above-captioned poem: 

What is Claimed:

1.  A decision to leave, comprising:

                a reason, consisting of:

                                i) a need to see a person whom you have not seen in a long time, said time greater than or directly equal to six months, said months comprising the Gregorian calendar of months; and

                                ii) a want, a feeling you cannot contain, like sunlight in a glass jar, like, holding a hand a little longer, a little softer, said hand relative to the person whom you have not seen in a long time, said time greater than or directly equal to six months, said months comprising the Gregorian calendar of months;

                monetary value greater than or equal to the cost of your heart, comprising:

                                i) a hollow muscle or organ that pumps blood throughout the blood vessels, relative to cardiac, relative to emotion, directly comprising:

                                                collections of de-oxygenated blood;

                                                a mesh work of cardiac muscle cells; and

                                                love: a variety of feelings, states, and attitudes.

2.  The assembly of claim 1, wherein a circumstance does not prevent a person from making said decision.

3.  The assembly of claim 1, wherein the need is not in direct contact with selfish reasons to arrive at said decision.

4.  The assembly of claim 1, wherein the want cannot be avoided at any cost, wherein the sunlight in a glass jar is a metaphor but the holding of a hand is literal.

5.  The assembly of claim 1, wherein the monetary value is on a scale of USD and heart strings, of which are equivalent to the relation of the amount of heart strings that will deteriorate if a person does not make the decision to leave.

6.  The assembly of claim 1, wherein the heart remains inside the chest of the person who has made the decision to leave.

7.  The assembly of claim 6, wherein the chest of the person who has made the decision to leave, is located on said persons.

8.  The assembly of claim 1, wherein the composition of said heart is only an opinion made by the person who has made the decision to leave.

9.  A method and apparatus of arrival, comprising:

                an aircraft assembly unit containing passenger seats for said person who has made the decision to leave; and/or

                a motor vehicle containing a seat for said person who has made the decision to leave;

                fuel;  

                monetary value greater than or equal to the cost of your heart;

                the desire to arrive, consisting of;

                              i) the act of coming to or reaching a place;

ii) someone or something that has come to a place; and

                                iii) the time when something begins or happens.

10.  The method of claim 9, wherein said aircraft assembly unit abides by the terms required by aviation safety, specifically:

                the theory, investigation, and categorization of flight failures;

                the prevention of such failures through regulation, education, and training;

                various campaigns to inform the public as to the safety of air travel; and

                the passenger who is standing in the row adjusting their carry-ons after the captain has turned on the fasten seat belt sign, and the passengers have been informed it is no longer safe to move about the cabin, does not exist.

11.  The method of claim 9, wherein said motor vehicle, comprises:

                a self-propelled wheeled vehicle that does not operate on rails;

                the vehicle propulsion is provided by an engine or motor;

                is identified within a number of vehicle classes; and

                the operator of said vehicle is either the person who has made the decision to leave or is the person who was convinced by the person who has made the decision to leave either by monetary, sexual, neighborly, and the like, gestures.

12.  The method of claim 9, wherein the type of fuel is the preferred specialized type of petroleum-based fuel used to power an aircraft.

13.  The method of claim 9, wherein the monetary value is on a scale of USD and heart strings, of which are equivalent to the relation of the amount of heart strings that will deteriorate if a person does not make the decision to leave.

14. The method of claim 9, wherein the time when something begins or happens is relative to the location of arrival, directly opposite from the location of departure.

15. The method of claim 14, wherein said location is directly relative to the end result to the decision made by the person to leave.

16. The method of claim 14, wherein said location is directly relative to an infinite number of results to the decision made by the person to leave.

TWO EVENTS Friday April 4, 2014

Two Events in Boulder

Boulder Arts Week &

NoBo First Friday Art Walk

Friday, April 4, 2014

6:30 & 7:15 

Elyse Brownell & Steve O'Bryan

1740 Linden Avenue

7:45 & 8:30 

Chris Shugrue, Stefka Trusz, and Kathi Sutton

1510 Zamia #102

EB's Response to "My Skeleton" by Jane Hirshfield (Poet-to-Poet)

Ode to the Hole-Punch

Elyse Brownell

My hole-punch,

sitting on the mahogany surface

awkward in stature.

Your origins date back to Germany,

1886, designed to “punch holes in paper”

your founder, Frederich Soennecken,

treated you with such care, precision,

after the invention of a paper, Nietzsche

himself wrote to other poets,

declaring the paper’s top quality

to write on

and now, a hole-punch,

created to punch holes

in such paper, to allow

the acco of breath, to suspend

data in portfolios—

organization is your primary purpose,

utility, but a design patent is where

you began.

Centuries later, mass-produced

and landing on my desk,

an office tool I rely heavily on:

black ceramic skin, a lever used

to push a bladed cylinder straight

through sheets of paper

through Soennecken’s original thought

creating space for more ideas,

more metal prongs, protruding through bodies,

combining the elements.

Palm flat on your lever,

paper placed between the long silver guides

running through your core

and I press down,

a slow creak from your springs

and you recoil

producing two, perfect circles

placed apart evenly, accurately,

ready for placement

and I wonder:

how many hands have touched you?

paraded you?

relied on you?

complained about you?

forced weight upon you?

only to leave remains of paper

in your belly—

a silver sliding door beneath you.

Do you miss each one of them

a mother to their child—

After all, it is you

who created such perfect

round, holes.

In response to "My Skeleton" by Jane Hirshfield

EB's Response to "Fast Break" by Edward Hirsch (Poet-to-Poet)

Four Square

Elyse Brownell

For Jadee (1983-2011)

She hit the ball out of turn,

sending it past the boundaries of the chalk drawn lines,

she was out, and Melinda was up next,

making her wide stance known, her large hands hanging

at her side, I spun the rubber skin on the tip of my finger,

called out the rules: “no returns” I said, pointing to Beth,

who is the smaller of the four of us, with less hand-eye coordination,

with a fear of Melinda’s hands, with a fear of returning the ball,

beyond the lines, a falling of hands pushing the ball began,

back and forth, one bounce in square one,

another in square three, and onto Melinda, in square four,

in the upper right-hand corner, fully intentional, fully knowing

she is left-handed, she reaches out across the line and taps

the ball to square one, where I am standing, I lunge forward

to prevent the second bounce in my square, but miss

causing the ball to roll off of Beth’s foot and tumble

into the brick wall behind us, which responds

back to the rubber ball, and sends it out across the street

rolling down the hill, jumping up from hitting rocks,

and the tires of the cars lining the street,

ending in a gutter near the stop sign and wobbling into

the dip, until Beth retrieves it,

“Nice one, Liz,” Melinda’s hands say,

I exit the squares to take my place at the back of the line,

“you’re out,” she insists, just as Beth

returns with the ball, dribbling it a few times with

a new sense of confidence since before she left

to retrieve the ball, “I’m in square one, now” Beth announces,

Jeremy jumps into square four, and I stand off to the side,

“black jack” Beth says, “you can’t do that” Melinda says,

“watch me,” Beth says, and calls “game on” before bouncing the

ball to Jeremy in square four, who sends it to Cheryl in square two,

back to Beth, who twists her hands to throw off Melinda,

in square three, but Melinda sends it back to Beth, who catches it,

the sound of the ball in Beth’s hands echoes against the brick wall

silence falls over every mouth in line, waiting their turn to beat Melinda,

“black jack,” Beth smirks, “no way!” Melinda cries,

“sorry, those are the rules, I called it,” the rest of the kids

standing in line ahead of me cheer, as Mega Melinda has been defeated,

but this time she seems smaller, her back hunched over as

she crosses the boundaries outside of the game, I watch her

kick a pebble into the grass as her head hangs low, her hands

in her pocket, I feel a pull toward her and place my hand on her shoulder

“it’s okay, Melinda, it’s just a game,” she looks up from the ground

shifting her focus onto me, she begins to cry, and hugs me,

our bodies pressed into each other, not realizing the ball

is rolling around us, has stopped against my heel, and stays there,

as time stands still and I am left with the news of her death

fifteen years later, trying to recall a single memory that occurred

after four square, like our prom, or sitting in her room

surrounded by posters of boy bands, declaring which of the five men

were our boyfriends, thinking, at the time, that no other moment could possibly

be worse than finding out that one of the boy band members has a girlfriend,

or nothing could possibly get any better than finding out that the yellow-haired boy

that sits in front of you in math class, thinks about you too,

but all I can recall is the sound of the ball on the concrete that day

the way she hugged me, and stopped being Mega Melinda,

but rather a friend, a teammate, to someday become a wife, a mother, and now,

merely, the dust kicked up by a ball bouncing somewhere, without a sound.

Glimpse

Elyse Brownell

for Jadee

Even now, after thinking about you for days,

I am no closer to finding you.

I stand in a room and summon your memory

but come up empty-handed, left with

carbon copies of your face in photographs

left with a still-frame of us in the basement,

the lower ceilings we resided under,

your father in his recliner with the volume on the TV

too loud, the walls of your bedroom covered with

posters of our favorite bands, your carpet, matted,

stains of make-up, nail polish, and paint chippings,

the threshold to the back room, burgundy concrete floors,

the full-length mirror, the lighting in your bathroom,

the sound of the front door, the smells in the kitchen,

and your bedroom floor, rolling cigarettes,

drinking wine coolers, trying to decipher the day’s problems.

did we ever talk about death (?) after we heard that statistic from

our guidance counselor about the 1 and 4 odds of making it to our ten year reunion.

I wore black that day.

I said your name at least twice.

I wished the red wine

was actually a wine cooler and we were back in the basement

hiding from the outside world, together.

But the room I stand in isn't at all a place where I can ever find you,

even if I hold 1,000 photographs and try to talk to each one,

I can’t hear your laugh in my ear, or the sound of you knuckles

each one cracking louder than the next.

I can only hope that the sound of the heater turning on,

or the blinds against my window sill swaying for no reason,

is the passing of our memories, a passing that can only

be captured by the smallest glimpses of your light;

that’s all anyone is after they’re gone.

In response to:

"Fast Break"

Edward Hirsch

EB's Responses to "Five Directions to My House" by Juan Felipe Herrera (Poet-to-Poet)

To prepare for National Poetry Month, we have decided to partake in the Poet-to-Poet challenge.  Though the guidelines specifically indicate the challenge is for grades 3-12, we can't miss an opportunity to be inspired.  Rather than enter our poems (since we can't), we will post them here!  More about the challenge here.

Visiting Lake Superior

Elyse Brownell

1. Return, again, to attend the ballet of Heliades across the blue-stained glass floor.
2. Walk along her shoreline, her softness pulled up around your toes as you sink into her body.
3. Feel the openness of her, an endless space, waiting beneath the curve of the Porcupine Mountains.
4. Rest, face her, watch the memories play back on reels of your father's fishing lines: late baths on warm summer nights; a plunge through her shell with the other polar bears; the Northern Lights (she welcomes them new again each time); her vacancy, after the fall, so many times.
5. Leave her as you found her, like an infinite lover you’ll always return to.

Directions to a Memory

Elyse Brownell

1. Return to the playground where someone threw rocks at your brother after he told them to leave you alone.
2. Leave the park, there, your brother, standing still holding another pointed rock in his palm.
3. Reach the top of the hill, just enough to see the boys standing still, like Risk pieces before the war began.
4. See your brother fall, like the wind knocked him over, as sudden as a picture frame falling down.
5. Run down the street, further away from water, though every direction you are standing closer.
6. Enter through the white screen door, calling to your mother, to hurry, to come see, to forget her purse, for now.
   
   
   
   Can We Return?
   Elyse Brownell

1. She is waiting for you on the porch where you stood kissing your first love.
2. Mother, I have come home again, so you can take care of me, if but just for one week.
3. Lover, when I walk these streets I don’t think of you, for the first time, since we met.
4. I am standing near the railroad where we crossed the rails just months before the ink dried.
5. Silver spawn, flock to me, land on a branch, nibble on some berries, I will be there soon.
6. Remember the playground where we were stuck for hours? Remember the tether ball?
7. I still remember the way the icing tasted on my pink ninja turtle cake after the goose hunt.

In response to:

"Five Directions to My House"

Juan Felipe Herrera